Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 3
from: Emergence at the frontiers and in fringes & trenches of contemporary music
Out in the real world, as practitioners, it is pretty easy to delineate the psychosociogeographic -artistic, musical- subspace that encompasses the individuals -solo, or more or less loosely organised in groups; part of these will consider themselves as being full- or part-time ‘artists’ and/or ‘musicians’, but others will most definitely not- thoughts, actions, methods, locations… that together make up the (dynamic, continuously changing both in a geographic and a temporal sense) cultural region that here we will talk about as UFO or URFOlk: urban folk music.
When then asked, however, as theoreticians to actually define, in understandable phrases built from well-known words, that which is so easy, as if by gesture, to wordlessly discern, we find ourselves being given a task that is near to impossible to complete.
To any element in a set of characteristics designed to comprehensively include all that we would want it to include, there will pop up -and yes, we do repeat ourselves- exceptions, and then exceptions to what one thought was captured by the exception, and so and so further. The multi-dimensional region, as it is, has boundaries that are kind of fractal with respect to attempted ‘abstraction’. (So the one way to capture all is to just exhaustively…
